EXT. MASTER EPPS'S PLANTATION - MORNING 98
-AUGUST, 1843
The sun has only just risen above the horizon. FROM THE
GREAT HOUSE THE HORN IS BLOWN signaling the start ofanother day.
EXT. MASTER EPPS'S PLANTATION/FIELD - DAY 99
Slaves are in the field picking cotton. They accompanytheir work with a SPIRITUAL.
EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - LATER 100
As the slaves make their way in from the field, theMistress calls to Solomon. SHE HAS A PIECE OF PAPER IN
HAND.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 67.
100 CONTINUED:
100 100 CONTINUED: 100
MISTRESS EPPS:
Platt...
SOLOMON:
Yes, Mistress.
MISTRESS EPPS:
Can you find your way to
Bartholomew's?
SOLOMON:
I can, ma'am.
Handing Solomon a sheet of paper.
MISTRESS EPPS:
This is a list of goods and
sundries. You will take it to be
filled and return immediately.
Tell Bartholomew to add it to our
debt.
SOLOMON:
I will, Mistress.
Solomon looks at the list. In a careless moment, Solomonreads quietly from it. He catches himself, but notbefore the Mistress notes his action. With highinquisitiveness:
MISTRESS EPPS:
Where yah from, Platt?
SOLOMON:
I have told you.
MISTRESS EPPS:
Tell me again.
SOLOMON:
Washington.
MISTRESS EPPS:
Who were yah Master?
SOLOMON:
Master name of Freeman.
MISTRESS EPPS:
Was he a learned man?
SOLOMON:
I suppose so.
MISTRESS EPPS:
He learn yah ta read?
(CONTINUED)
100
1/24/13
CONTINUED:
(2)
FINAL SHOOTING SCRIPT 68.
100
SOLOMON:
A word here or there, but I haveno understanding of the writtentext.
MISTRESS EPPS:
Don't trouble yer self with it.
Same as the rest, Master boughtyah to work. Tha's all. And anymore'll earn yah a hun'red lashes.
Having delivered her cool advice, Mistress heads backinto the house.
A101 EXT. ROAD -DAY A101 *
Solomon walks along a well-worn path, shopping bag drapedover one shoulder. We see his feet. As the walk slowlygathers pace, Solomon suddenly turns left into densefoliage. His tread is now a full blown sprint, treesflash past as Solomon attacks his way through the woods.
The sound of branches cracking underneath. His feet,
heartbeat and breath almost deafening. He is desperate.
The violence of his advance abruptly stops, there issilence. We see in a clearance a posse of patrollers,
preparing for a lynching of two young men. Solomon's
eyes meet theirs. The two men look back at Solomon with
a look of fear as one of the patrollers checks the noosearound their neck. Suddenly the bloodhounds startbarking and the patrollers turn in the direction ofSolomon. Solomon's whole body shakes with anticipation.
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
PATROLLER:
(aggressively)
Boy, where are you going?
*
*
*
SOLOMON:
(almost tripping overhis words)
To the store, Sir, toBartholomew's. I was sent there
by Mistress Epps.
*
*
*
*
*
*
The patroller reaches out for Solomon's free pass aroundhis neck, yanking him forward. He looks at it.
*
*
PATROLLER:
Get there and get there quick.
*
*
The patroller kicks Solomon hard, sending him on his way.
Solomon walks on, looking one more time at the two youngmen; again there is a moment of connection.
*
*
*
Solomon turns. The two men are hoisted up, kicking andspitting, behind his shoulder.
*
*
Solomon finds himself back on the trail walking towardsBartholomew's, his face now full of shock and
(CONTINUED)
*
*
1/24/13 FINAL SHOOTING SCRIPT 68A.
A101 CONTINUED:
A101 A101 CONTINUED: A101
trepidation. He walks, fighting to calm himself down. *
We move behind him as he continues his journey, a lonely *
figure. *
101 INT. BARTHOLOMEW'S - LATER 101
A general store in the township of Holmesville. Solomon
stands at the counter as BARTHOLOMEW fills Mistress
Epps's order. Among the items set before Solomon is aQUANTITY OF FOOLSCAP.
The items are collected for Solomon and placed in a sack.
Solomon giving little thought to them other than gettingthem back to the mistress.
As he turns, he glimpses the regalia of slave restraints,
of all different guises; chains, muzzles for sale.
102 EXT. MASTER EPPS'S PLANTATION/GREAT HOUSE - LATER 102
Solomon returns and delivers the items to the Mistress.
MISTRESS EPPS:
Any trouble?
SOLOMON:
No, ma'am. No trouble.
103 OMIT -MOVED TO A105 103
104 EXT. SHAW'S HOUSE - DAY 104
-JULY, 1844
Sitting on the Grand house's Piazza, Patsey is having teawith MISTRESS HARRIET SHAW, WHO IS A BLACK WOMAN. Thoughonce a slave, she is now comparatively refined though notwholly so. The table where they sit is adorned withwhite linens, and they are attended by a HOUSE N*GGER.
It makes for a tranquil surreal scene.
MASTER SHAW, A WHITE MAN, IS ON THE LAWN GROOMING AHORSE.
1/24/13 FINAL SHOOTING SCRIPT 69.
A105 EXT. ROAD -DAY A105
Solomon is running flat out along the road. Running asthough his life depended on getting to his destination inbeyond a timely manner.
B105 EXT. SHAW'S HOUSE - DAY B105
Still running, slick with sweat, Solomon comes upon theSHAW HOUSE.
As Solomon arrives:
MASTER SHAW:
Platt Epps, good Sunday morning.
SOLOMON:
Good morning, Master Shaw. I've
been sent by Master to retrievePatsey. May I approach?
MASTER SHAW:
You may.
Solomon makes his way over to the piazza.
SOLOMON:
Excuse me, Mistress Shaw.
MISTRESS SHAW:
N*gger Platt.
SOLOMON:
My apologies. Patsey, Masterwishes you to return.
PATSEY:
Sabbath day. I's free ta roam.
SOLOMON:
Understood. But the Master sent
me running to fetch you, and saidno time should be wasted.
MISTRESS SHAW:
Drink tea?
SOLOMON:
Thank you, Mistress, but I don'tdare.
MISTRESS SHAW:
Would you knowed Massa Epps'sconsternation ta be any lessenedwit your timely return? Sit. Sit
and drink the tea that offered.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 70.
B105 CONTINUED:
B105 B105 CONTINUED: B105
Solomon knows better, but he sits and the Mistress hastea poured for him.
MISTRESS SHAW (CONT'D)
What'n was Epps's concern?
SOLOMON:
...I'd rather not say...
MISTRESS SHAW:
L'il gossip on the Sabbath be
fine. All things in moderation.
Solomon is not sure what to say. He struggles to be asdiplomatic as possible.
SOLOMON:
As you are aware, Master Epps can
be a man of a hard countenance.
There are times when it is
impossible to account for his
logic. You know he has ill
feelings toward your husband.
MISTRESS SHAW:
He do.
SOLOMON:
Master Epps has somehow come to
believe, as incorrectly as it may
be, that Master Shaw is... That
he is something of a lothario and
an unprincipled man. A misguided
belief born out of their mutual
competition as planters, no doubt.
MISTRESS SHAW:
No doubt...if not born outta truth
itself.
The Mistress waves to Shaw. Shaw, unsuspecting of theconversation, waves back.
SOLOMON:
I'm certain Patsey's well being is
Master Epps's only concern.
MISTRESS SHAW:
Nothin' Epps desire come outta
concern.
SOLOMON:
I meant no disrespect.
MISTRESS SHAW:
He ain't heard you.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 71.
B105 CONTINUED:
(2) B105 B105 CONTINUED: (2) B105
SOLOMON:
I meant no disrespect to you,
Mistress.
MISTRESS SHAW:
Ha! You worry for me? Got no
cause to worry for my
sensibilities. I ain't felt the
end of a lash in 'mo years than I
cain recall. Ain't worked a
field, neither. Where one time I
served, now I got others servin'
me. The cost to my current
existence be Massa Shaw
broadcasting his affections, 'n me
enjoyin' his pantomime of
fidelity. If that what keep me
from the cotton pickin' n*ggers,
that what it be. A small and
reasonable price to be paid 'fo
sure.
Looking toward Patsey, speaking with great empathy:
MISTRESS SHAW (CONT’D)
I knowed what it like to be the
object of Massa's predilections
and peculiarities. And I knowed
they can get expressed with
kindness or wit violence. A lusty
visit in the night, or a
visitation from the whip. And wit
my experience, if'n I can give
comfort, then comfort I give. And
you take comfort, Patsey; the Good
Lord will manage Epps. In His own
time the Good Lord will manage dem
all. Yes, Lordy, there's a day
comin' that will burn as an oven.
It comin' as sure as the Lord is
just. When His will be done...the
curse on the Pharos is a poor
example of all that wait 'fo the
plantation class.
Mistress Shaw turns her head to the side, catching aslave's attention. As she does so, the slave, a YOUNGWOMAN, commences to pour tea.
As if to punctuate her thought, the Mistress takes a sipof her tea.
105 EXT. EPPS'S PLANTATION - LATER 105
Solomon and Patsey are returning from Shaw's. Waiting onthe porch of the Great House, a drunk Epps beckons forPatsey, his lewd intentions obvious.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 72.
105 CONTINUED:
105 105 CONTINUED: 105
EPPS:
Pats...! Patsey!
SOLOMON:
Do not look in his direction.
Continue on.
Epps does not care to be ignored. He lifts himself and
moves toward the pair in a rage.
EPPS:
Patsey...!
Solomon moves between Epps and Patsey, cutting Epps offas Patsey continues on. Playing up his "ignorance" ofthe situation:
SOLOMON:
Found her, Master, and brought herback just as instructed.
EPPS:
What'd you jus now tell her?
What'd you say to Pats?
SOLOMON:
No words were spoken. None of
consequence.
EPPS:
Lie! Damned liar! Saw youtalkin' with 'er. Tell me!
SOLOMON:
I cannot speak of what did not
occur.
Epps grabs Solomon.
EPPS:
I'll cut your black throat.
Solomon pulls away from Epps, RIPPING HIS SHIRT IN THEPROCESS. Epps gives chase. Solomon begins to run aroundthe large pig sty, easily keeping his distance. Epps,
however is undeterred. He moves after Solomon as
speedily as he can, which isn't very speedily at all.
And quickly he tires. Epps is forced to bend over andsuck air. Solomon maintains his distance, barelybreathing hard. His breath returned to him, Epps startsup the chase again. Solomon runs on out of reach.
Shortly, Epps again stops, gets his breath... And now in
what should be quite comical, Epps again runs afterSolomon. Again, Epps's vigor leaves him before he caneven get close to the slave.
Dropping down to the dirt, in a show of regret and piety:
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 73.
105 CONTINUED:
(2) 105 105 CONTINUED: (2) 105
EPPS (CONT'D)
Platt... Platt, liquor filled me.
I admit that it did, and I doneover reacted. It's the Lord's
day. Ain't nothin' Christian in
us carryin' on like this. Help meta my feet, and let us both prayto the Lord for forgiveness.
Epps extends a hand to Solomon. Cautiously, Solomonmoves close, but not too close. As Solomon draws within
striking distance, Epps lunges for him. He chases
Solomon on until he is again out of breath and once moredrops down. And again offering a treaty:
EPPS (CONT'D)
I'm all done in, Platt. I have
met my limitations, and I ain'tequal to 'em. I concede to yah,
but in the name of valor, help yermaster to his feet.
Solomon cautiously moves closer to help. Again he isattacked by Epps - this time by knife. Sort of. Epps istoo drunk and tired to fully open the folding blade - andchased far around the field by Epps. ALL OF THE
PRECEDING SHOULD BE MORE FUNNY THAN SHOCKING. A CHANGE
OF PACE FROM THE OTHERWISE NECESSARY BLEAKNESS OF SLAVE
LIFE.
Mistress Epps comes running from the house to the pair.
MISTRESS EPPS:
What? Wha's the fuss?
SOLOMON:
A misunderstanding is all. It
began when I was sent to retrievePatsey from where she'd takensabbatical at Master Shaw's. Uponreturning, Master Epps believedPatsey and me to be inconversation when we were not. I
tried to explain, but it lead toall this.
MISTRESS EPPS:
What is it? Ya cain't remain the
Sabbath without her under youreye? Ya are a no-account bastard.
EPPS:
Hold a moment...
MISTRESS EPPS:
A filthy, godless heathen. My bedis too holy for yah ta share.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 74.
105 CONTINUED:
(3) 105 105 CONTINUED: (3) 105
EPPS:
Wha's...wha's he been tellin' yah?
MISTRESS EPPS:
Of yer misbegotten ways.
EPPS:
And he would know what of
anythin'? I ain't even spoken
with him today. Platt, yah lyin'
n*gger, have I? Have I?
Discretion being the better part and all, Solomon remainssilent.
EPPS (CONT'D)
There; there's all the truth he
got. Damned n*gger. Damn yah.
Epps pushes his way past the Mistress.
106 EXT. MASTER EPPS'S PLANTATION/FIELD - DAY 106
-AUGUST, 1844
With the sun yet again high in the sky the slaves areworking the field picking cotton. As before THEY SING A
SPIRITUAL, the only thing that distracts them from thetedium at hand.
But there is no distracting from the heat. We see Henrybegin to falter before it... And eventually collapseright in the dirt. Though the other slaves take note,
none move to help him. None dare.
From Treach rather matter of factly:
TREACH:
Get him water.
Edward runs to fetch a gourd. He carries it to Henry,
DUMPS THE WATER ON HIM, BUT DOES NOT ACTUALLY GIVE HENRYANYTHING TO DRINK.
Roused, Henry rights himself.
EDWARD:
Go'won. Git up.
Unsteadily, Henry lifts himself and goes back to pickingcotton. He joins in again with the spiritual, as if thesong is all that can keep him going.
107 INT. MASTER EPPS'S PLANTATION/SLAVE SHACKS - NIGHT 107
-OCTOBER, 1844
(CONTINUED)
108
109
110
1/24/13 FINAL SHOOTING SCRIPT 75.
CONTINUED:
107
The slaves are asleep. Epps arrives, again withoutknocking, with his whip in hand. The slaves stir. Uncle
Abram asks:
UNCLE ABRAM:
We dance tonight, massa?
Epps remains quietly focused on Patsey. And it's clear
from her apprehensive expression just what it is he'scome looking for. This time there is no escaping it. As
if to acknowledge the badness to come, Phebe lightlycries.
EXT. MASTER EPPS'S PLANTATION/SMOKE HOUSE - NIGHT 108
On top of a wood pile, in the back of the smoke house -
Epps shoves Patsey. He stops, stands as if gathering hismanhood, then he's all over Patsey. He is rough andclumsy. It looks like something between an awkward rapeand a virgin attempting his first sexual encounter.
Patsey does not respond in any way other than tocontinually turn her head from Epps, but otherwise remainas still as possible. If there is such a thing, she isvicious with her passive aggressiveness.
Epps's frustration mounts until - as the Mistress Shawhad cautioned - he crosses the line from passion toviolence. He begins slapping Patsey to get a responsefrom her. When that fails, he punches her which onlyleads to him taking up his whip and lashing PatseyMERCILESSLY. Still, she gives him nothing. Beaten,
Patsey sits in the dirt among the cotton, Epps deepbreathing above her. The desire for sex now having lefthim.
Epps heads from the field. Patsey is left where she is.
INT. BARTHOLOMEW'S - DAY 109
-NOVEMBER, 1844
As before, Solomon waits as Bartholomew fills MistressEpps order. Among the items set before Solomon isanother quantity of foolscap.
EXT. ROAD -DAY 110
Solomon is making his way back to the Epps plantation.
He carries with him a sack filled with the goods from thestore. As he walks, SOLOMON LOOKS AROUND CASUALLY. When
he is certain he is alone, he sets down the sack, opensit and appropriates A SINGLE SHEET OF THE PAPER which hefolds and places in his pocket. That done, he cinches upthe sack and continues on his way.
1/24/13 FINAL SHOOTING SCRIPT 76.
111 OMIT 111
112 INT. EPPS'S PLANTATION/SLAVE SHACK - DAY 112
Solomon takes the slip of paper and hides it within hisfiddle. Perhaps the safest place he can think of. He
acts as though he's hiding away found gold. In realityit's more than that. For Solomon the paper is a firststep toward freedom.
113 INT. MASTER EPPS'S PLANTATION/MAIN HOUSE - NIGHT 113
-DECEMBER, 1844
It's another night of Epps's forced revelry. Coming inquick from the previous scene, we go from Solomon holdinghis fiddle, to playing it as the slaves are again made todance.
Mistress Epps brings out a tray of freshly bakedpastries. She sets them down on a table.
MISTRESS EPPS:
A moment from the dancing. Come
sample what I baked for y'all.
The slaves, thankful for the rest as much as the food,
file toward the tray reciting a chorus of "Thank you,
Mistress." As Patsey moves toward the pastries:
MISTRESS EPPS (CONT'D)
There'll be none for you, Patsey.
Patsey merely turns away. Her non responsiveness,
however, serves only to incite the Mistress. Screaming:
MISTRESS EPPS (CONT'D)
Yah see that? Did yah see the
look of insolence she give me?
EPPS:
Seen nothin' but her turn away.
MISTRESS EPPS:
Are you blind or ignorant? It was
hot, hateful scorn. It filled
that black face. Yah tell me yah
did'n see it, then yah choose not
to look, or yah sayin' I lie.
EPPS:
Whatever it was, it passed.
MISTRESS EPPS:
Is that how yah are with the
n*ggers? Let every ill thought
fester inside 'em. Look at 'em.
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 77.
113 CONTINUED:
113
MISTRESS EPPS (CONT'D)
They foul with it; foul with their
hate. You let it be, it'll come
back to us in the dark a night.
Yah want that? Yah want them
black animals to leave us gut like
pigs in our own sleep?
Epps isn't sure how to respond to the inchoate berating.
It's an invitation for the Mistress to continue.
MISTRESS EPPS (CONT'D)
You are manless. A damned eunuch
if ever there was. And if yah
won't stand for me, I'd pray you'd
at least be a credit to yer own
kind and beat every foul thought
from 'em.
Epps does nothing. The Mistress lets her anger loose.
She moves quickly to Patsey, DRIVES HER NAILS INTO THEPATSEY'S FACE AND DRAWS THEM DOWN ACROSS HER FEATURES.
FIVE DEEP AND BLOODY GASHES ARE LEFT IN PATSEY'S SKIN,
the moment marked with appropriate screams. Patseycollapses on the floor, covering her bleeding face.
MISTRESS EPPS (CONT'D)
Beat it from 'em!
Thoroughly cuckolded by the Mistress's actions, Eppstakes his whip and pulls Patsey out of the house. His
intentions are plain.
All the slaves remain silent. The Mistress, however,
displaying high satisfaction, entreats the others:
MISTRESS EPPS (CONT'D)
Eat. Fill yourselves. ...And
then we dance.
The slaves eat, but without a hint of levity.
114 INT. MASTER EPPS'S PLANTATION/SLAVE SHACK - NIGHT 114
We come up on the slaves who lay sleeping. All exceptfor Patsey. She rises from her bedding, goes to a cornerof the cabin and removes something from a secretivelocation. She then moves over to Platt.
PATSEY:
Platt... Platt, you awake?
SOLOMON:
I am.
PATSEY:
I have a request; an act of
kindness.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 78.
114 CONTINUED:
114 114 CONTINUED: 114
Patsey displays what she took from hiding. It is a
LADY'S FINGER RING.
PATSEY (CONT'D)
I secreted it from the Mistress.
SOLOMON:
Return it!
PATSEY:
It yours, Platt.
SOLOMON:
For what cause?
PATSEY:
All I ask:
end my life. Take mybody to the margin of the swamp-
Solomon looks at Patsey as though she were insane.
SOLOMON:
No.
PATSEY:
Take me by the throat. Hold me
low in the water until I's still
'n without life. Bury me in alonely place of dyin'.
SOLOMON:
No! I will do no such thing.
The...the gory detail with whichyou speak-
PATSEY:
I thought on it long and hard.
SOLOMON:
It is melancholia, nothing more.
How does such despair even come toyou?
PATSEY:
How can you not know? I got nocomfort in this life. If I cain't
buy mercy from yah, I'll beg it.
SOLOMON:
There are others. Beg them.
PATSEY:
I'm begging you!
SOLOMON:
Why? Why would you consign me todamnation with such an un-Godlyrequest?
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 79.
114 CONTINUED:
(2) 114 114 CONTINUED: (2) 114
PATSEY:
There is God here! God is
merciful, and He forgive merciful
acts. Won't be no hell for you.
Do it. Do what I ain't got the
strength ta do myself.
Solomon says nothing. Clearly he's not about to do thedeed. With nothing else to do, knowing she is damnedwith every breath she draws, Patsey crawls back to herspot on the floor and lays herself down.
BLACK:
115 EXT. MASTER EPPS'S PLANTATION/FIELD - DAY 115
-JULY, 1846
Hard times on the planation. Where previously the fieldin bloom was a carpet of white, it is now patchy andunder grown.
The slaves move through the field picking not cotton, butrather COTTON WORMS from the plants. The cotton worms
have dined on the cotton and nearly destroyed the crop.
We see the cotton worms in extreme close-up, moving amongand destroying the cotton crop.
Epps is beside himself as he looks out over his ruinedfield.
EPPS:
It is a plague.
TREACH (O.S.)
Cotton worm.
EPPS:
A plague! It's damn Biblical.
Two season God done sent a plague
to smite me. I am near ruination.
Why, Treach? What I done that God
hate me so? Do I not preach His
word?
TREACH (O.S.)
The whole Bayou sufferin'.
EPPS:
I don't care nothin' fer the damn
Bayou. I'm sufferin'.
Epps looks among his slaves at work, his enmity growing.
EPPS (CONT'D)
It's that Godless lot. They
brought this on me. I bring 'em
(MORE)
(CONTINUED)
116
117 117
118
1/24/13 FINAL SHOOTING SCRIPT 80.
CONTINUED:
115
EPPS (CONT'D)
God's word, and heathens they are,
they brung me God's scorn.
Crazed, Epps runs into the field, taking himself fromslave to slave delivering a whipping to all he can layhis hands on.
EPPS (CONT'D)
Damn you! Damn you all! Damn
you!
RE-OMIT 116
EXT. JUDGE TURNER'S PLANTATION - EVENING 117
-OCTOBER, 1846
Henry, Bob, Uncle Abram and Solomon sit in the back of acart. SOLOMON HAS HIS FIDDLE WITH HIM. Epps hasdelivered the men to JUDGE TURNER, a distinguished manand extensive planter whose large estate is situated onBayou Salle within a few miles of the gulf. Epps andTurner stand off to one side engaged in bargaining asHenry, Bob, Uncle Abram and Solomon wait and watch.
One of the slaves whisper under their breath.
EPPS' SLAVE
I hear cutting cane is twice ashard as picking cotton.
BOB:
But at least we'll be away fromMaster Epps.
UNCLE ABRAM:
Boy, you two have no sense.
Epps returns to his slaves and gives a partingsalutation.
EPPS:
Yer Judge Turner's for the season.
More if need be, until my cropreturn. Yah'll bring nodisrespect to me, and yah'll bringno biblical plagues to him. Be
decent, ere mark my words, I willdeliver an ungodly whippin'.
INT. SLAVE SHACK - NIGHT 118
(CONTINUED)
119
120
121
1/24/13 FINAL SHOOTING SCRIPT 81.
CONTINUED:
118
Slaves are crammed into the shack - LITERALLY ON TOP OF
EACH OTHER - as they try to sleep. Some lay, some sit
up. Packed in like cattle, there is barely room to movelet alone draw a deep, clean breath. There is a real
risk of suffocating in the mass. Some cough and wheeze.
A CHILD CRIES...
Among them is Solomon who must believe at this point thathis life has reached its very lowest point. The odds of
survival are slight, let alone the chance of actuallyever returning to his family. This clearly weighs on himas he struggles to find anything like comfortable spacein the pen.
EXT. CANE FIELDS - DAY 119
An OVERSEER is explaining to the new slaves - SOLOMONAMONG THEM - how to cultivate cane. WITH A KNIFE IN HAND
he demonstrates the process:
OVERSEER:
Draw the cane from the rick, cutthe top and flags from the stalk,
understand? Leave only that partwhich is sound and healthy. Cast
off the rest...
EXT. CANE FIELDS - DAY 120
-NOVEMBER, 1846
ABOUT THIRTY SLAVES are working the field. They aredivided into THREE GANGS. The first which draw the cane,
the next lay the cane in the drill, the last then hoe therows after.
Solomon is among a gang that draws and cuts, and he moveswith speed and skill. Certainly more so than hedisplayed picking cotton.
Standing with his overseer, Judge Turner watches.
INT. SLAVE SHACK - NIGHT 121
Again, the slaves have been herded into the shack andpressed together.
As he tries to rest - sleep is nearly impossible -
Solomon finds himself face to face with a woman, ANNA.
She is awake. For a few beats she avoids eye contactwith Solomon. She seems, like Solomon, to beunaccustomed to her surroundings and horribly frightenedby them. Eventually her eyes meet Solomon's. She makes
no sound, but great apprehension spills from her eyes.
Whatever's next, whatever horror awaits, she can barelystand to face. Fear, proximity... They drive her hand
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 81A.
121 CONTINUED:
121 121 CONTINUED: 121
to Solomon's. After a moment of seemingly reacquaintingherself with genuine human contact, the woman TAKES
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 82.
121 CONTINUED:
(2) 121 121 CONTINUED: (2) 121
SOLOMON'S HAND AND PRESSES IT TO HER BREAST. Solomon
tries to jerk his hand away, but ANNA HOLDS IT IN PLACE.
Manipulating Solomon's hand, she begins to massage herbreast. Solomon takes no real pleasure in the act -
really, neither does Anna. THERE SHOULD BE A TRUE SENSE
ANNA IS JUST SO VERY, VERY DESPERATE FOR HUMAN CONTACT,
FOR THE NEED TO FEEL ALIVE AND LIKE A PERSON RATHER THAN
AN ANIMAL THAT EMOTIONALLY SHE IS WILLING TO ENGAGE
SOLOMON.
The need quickly compounds. Anna presses her lips toSolomon's. Eventually, SHE DIRECTS HIS HAND BENEATH HERDRESS AND BETWEEN HER LEGS. Solomon, with slightly morecompassion than a guy making union wages, BEGINS TOMANIPULATE ANNA WITH HIS HAND. The act remains more
perfunctory than passionate.
We can see Anna moving toward climax and eventualrelease. But more - or substantially less - than joyoussex, it is really just a drug-like inoculation againstreality. But the feeling quickly fades. All that
remains, as with most chance encounters, is regret.
And there is shame, too. This is put on display as Annaturns away from Solomon. As quickly as it began, it isas though the act had not happened at all.
122 OMIT 122
123 EXT. JUDGE TURNER'S PLANTATION/GREAT HOUSE - EVENING 123
Solomon waits outside the house on the porch. A houseservant - ZACHARY - approaches and admonishes Solomon.
ZACHARY:
Off the porch. Get off.
Like a dog shooed away, Solomon steps down.
Eventually Judge Turner exits the house and crosses toSolomon.
SOLOMON:
...Sir...
JUDGE TURNER:
Platt is it? Have you cultivated
cane previously?
SOLOMON:
No, sir, I have not.
JUDGE TURNER:
You take to it quite naturally.
Are you educated?
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 83.
123 CONTINUED:
123 123 CONTINUED: 123
SOLOMON:
N*ggers are hired to work, not to
read and write.
Turner gives that a bit of consideration as he givesSolomon a wary looking over.
JUDGE TURNER:
You play the fiddle?
SOLOMON:
I do.
JUDGE TURNER:
Willard Yarney, a planter up the
bayou, celebrates his anniversary
in a three week's time. I will
hold out your name to him. What
you earn is yours to keep.
SOLOMON:
Sir.
JUDGE TURNER:
Mind yourself, Platt.
SOLOMON:
Yes, sir. *
124 EXT. TURNER PLANTATION - LATER (MOVED FROM 124) 124 *
Work over, the slaves congregate to eat.
As Solomon eats, he takes note of the JUICE FROM SOMEBERRIES ON HIS PLATE.
125 EXT. TURNER'S PLANTATION - EVENING (MOVED FROM 125) 125 *
Solomon plays with a piece of cane, fashions it into somekind of writing tool, testing it in the mud. He thenbrushes over the dirt with his hand.
1/24/13 FINAL SHOOTING SCRIPT 84.
126 EXT. TURNER PLANTATION - NIGHT (MOVED FROM 126) 126 *
Secreted away out near the edge of the bayou and sittingby a small fire, Solomon takes the slip of paper from hisfiddle. It is yellowed, showing age, but still usable.
Dipping the piece of cane - a quill - into the crushedberries, Solomon attempts to write a bit on the paper.
The berry juice, too free-flowing, is unusable as ink.
Solomon returns the paper to the fiddle. He has some
scraps of food with him, which he snacks on.
A127 OMITTED A127 *
A127A INT. SLAVE SHACK - DAY A127A *
We see a sharp object scratching onto a surface. The *
tool moves on to form another mark. The sound is *
repetitive and almost unbearable. As we move out, we see *
the names Anne, Margaret, Alonzo. They are engraved onto *
the violin, in the hidden area where Solomon would rest *
his chin. *
Solomon looks at it for a moment, moving his fingertips *
across the engraving. His face full of loss. *
Sadly, he lifts his instrument under his chin and leaning *
his head to the side as if to play. *
127 INT. YARNEY'S HOUSE - EVENING 127
A party has commenced at the noble home of one MR.
YARNEY. A group of REVELERS have gathered and are on thedance floor, in fancy dress. Their faces are covered witha variation of decorative masks. The party is a feast ofcelebration. As entertainment, SOLOMON ACCOMPANIES AGROUP OF MUSICIANS, no more than three. And as he doesso, they all play with jovial liveliness. Clearly a goodtime is being had by all.
128 EXT. ROAD -NIGHT 128
His playing done for the evening, Solomon is returning toJudge Turner's on foot. There is only the moonlight withwhich to light the way. As he walks, Solomon eats from aHEARTY CHUCK OF BREAD. Obviously part of his haul fromthe evening. Solomon again hears noises coming from thebrush just up ahead of him. Solomon tears off some of
the bread, kneels and holds it out before him.
SOLOMON:
C'mere. C'mon, boy.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 85.
128 CONTINUED:
128 128 CONTINUED: 128
This time, there is no dog. Instead, from the dark andthe brush step TWO BLACK MEN. Solomon stands. He looks
the men over - their clothes tatters and they themselvescovered in dirt. It becomes quite clear they are notjust slaves. A fact confirmed when they step menacinglytoward Solomon, ONE WITH A SHIV IN HAND.
At first it seems they want Solomon's food or money.
Worse, THEY GO FOR HIS FIDDLE.
Solomon has but a moment to brace himself before he is
attacked, TAKING A CUT TO THE ARM. Solomon fights back,
PICKING UP A PINE KNOT and striking his attacker over thehead. That takes the fight out of him, and both menretreat back the way they came leaving Solomon be.
A129 EXT. TURNER PLANTATION - NIGHT A129
Outside of the slave shacks Solomon's wound tended byUncle Abram. As he works on it:
UNCLE ABRAM:
Runaways I would expect. The
Bayou full with 'em. They nothin'
'mo dangerous than a n*gger in
flight.
SOLOMON:
They acted out of desperation.
UNCLE ABRAM:
Act outta lunacy. Heads fulla
stories 'bout life up north. Yah
ever been north, Platt?
SOLOMON:
...No...
UNCLE ABRAM:
And never should yah be. I hope
that yah never bear witness the
sorry condition of the northern
black. Got neither no purpose,
nor direction. They jus...they
jus fall about the streets in
search of sustenance of both body
and spirit.
SOLOMON:
You know this to be so?
UNCLE ABRAM:
Two of my massas tolt me.
(CONTINUED)
A129
129
130
1/24/13 FINAL SHOOTING SCRIPT 86.
CONTINUED:
A129
OMIT 129
EXT. TURNER PLANTATION - NIGHT 130
-FEBRUARY/MARCH, 1847
Alone out on the edge of the Bayou, Solomon is playing alow air on his violin WHILE SNACKING ON SCRAPS OF BACON.
As he plays, something appears in the distance. From the
edge of the bayou, coming forth like an apparition arisenfrom the earth, is CELESTE. She is a young woman ofabout 19 years of age and far whiter than most blacks.
"IT REQUIRED CLOSE INSPECTION TO DISTINGUISH IN HERFEATURE THE SLIGHTEST TRACE OF AFRICAN BLOOD." Beyondthat, she is pale and haggard, but still lovely.
Dressed in a white gown, she emerges from the water.
Draped on her dress, her period. A line in her skirt.
It's very visible, but not shocking. A ribbon of red inher dress.
Celeste moves to Solomon without fear or hesitation. As
Solomon, startled, takes her in, Celeste says quiteplainly:
CELESTE:
I am hungry. Give me food.
SOLOMON:
Who are you?
CELESTE:
I'm hungry.
Solomon gives Celeste some of his food. Celeste,
famished, devours it.
SOLOMON:
What is your name?
CELESTE:
My name is Celeste.
SOLOMON:
What are your circumstances?
CELESTE:
I belong ta Massa Carey, and 'ave
been two days among da palmettoes.
Celeste is sick and cain't work,
and would rather die in the swamp
(MORE)
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 87.
130 CONTINUED:
130 130 CONTINUED: 130
CELESTE (CONT'D)
than be whipped to death by the
overseer. So I took myself away.
Massa's dogs won't follow me. The
patrollers 'ave tried to set dem
on me. But dey a secret between
dem and Celeste, and dey won't
mind the devilish orders of the
overseer.
Celeste lifts her head from the food on which she gnaws.
CELESTE (CONT'D)
Do you believe me?
SOLOMON:
Yes.
CELESTE:
Why?
SOLOMON:
There are some whose tracks the
hounds will refuse to follow.
CELESTE:
Give me more food. I'm starvin'.
SOLOMON:
This is all my allowance for the
rest of-
CELESTE:
Give it to me.
Almost as if compelled, Solomon does as ordered. As she
eats, Celeste aggrandizes herself:
CELESTE (CONT'D)
Most slaves escape at night. The
overseers are alert for such
chicanes. But Celeste tricked dem
'n alight in the middle of the day
wit the sun up at its highest.
The place of my concealment now
deep in the swamp, not half a mile
from Massa's plantation, and a
world apart. A world a tall
trees whose long arms make fo' a
canopy so dense dey keep away even
the beams of the sun. It twilight
always in Celeste's world, even in
the brightest day. I will live
there, and I will live freely.
The overseers are a cowardly lot.
Dey will not go where their dogs
show fear and where it always be
night. Others will join me in the
twilight, and we ain't gunna be
slaves no 'mo forever.
(CONTINUED)
1/24/13 FINAL SHOOTING SCRIPT 88.
130 CONTINUED:
(2) 130 130 CONTINUED: (2) 130
Solomon isn't sure what to say. Before he can sayanything:
CELESTE (CONT'D)
Celeste will come to you again in
the night. You will have food for
her.
Celeste departs the way she came; as though she were avision.
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